Death Metal

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    Eternal Candle - The Carved Karma (2018)

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    It is not everyday that you receive a release from a band hailing from Iran. With our curiosity peaked, Eternal Candle’s debut full-length “The Carved Karma”, is one hell of a Progressive Death/Doom Metal release. Combining elements from old-school Death Metal, Doom Metal all perfectly paired with a Progressive edge, this release delivers almost one full hour of masterful music. For fans of old Opeth, Katatonia, My Dying Bride, this release will certainly resonate with you.

    Immediately after the dreamy instrumental opener, the band gets down to business with the sheer power of “The Ripped Soul”. Reminding us of Amorphis on their “Privilege of Evil” days, this track is heavy and pummeling, thanks to its powerful riffs and old-school vibe. Things quickly move into more Progressive / Katatonia-esque territories with the intricate “Sick Romance”, and even further into old-school Death/Doom influences with “A Path to Infinity”.

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    Unleashed - The Hunt for the White Christ (2018)

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    Back in the day when we started listening to Metal music, a loooong time ago, we remember having a tape of the Unleashed debut “Where No Life Dwells” and worshipping their ‘different’ sounding Death Metal music (in comparison to their American counterparts). Fast forward 27 years and the band’s sound is still timeless and equally punishing. With “The Hunt for the White Christ” the band continues to spread that heavy and crunchy old-school Swedish Death metal sound.

    Bursting at the listener with “Lead us Into War”, we are instantly enveloped by the band’s sinister old-school sound. The guitars are flowing, the pace is hecting and the timeless vocals of Johnny Hedlund rattle our speakers as tracks like “You Will Fall” and “Stand Your Ground” demolish our eardrums. We particularly enjoy songs like “Gram” were the riffing is vicious and more mellow passages are perfectly introduced to keep the listener guessing and never bored.

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    Outre - Hollow Earth (2018)

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    Right up there with Behemoth, Vader and Hate, Outre is one of the most brutal and demoralizing Metal bands to come out of the Polish scene. Delivering another ravaging release with “Hollow Earth”, the band focuses on unleashing pummeling tracks filled with hate and destruction. Greatly improved from their 2015 debut “Ghost Chants”, the band is here to stay and level audiences and listeners in their path.

    Setting the mood with a foul atmospheric intro, the release does not wait to hit hard with the blistering pace of “The Order of Abhorrence”. The band’s new vocalist, Mateusz Zborowski, keeps things interesting with a wide range of styles and levels of intensity that perfectly drive the aggression of the musical foundation. The guitar work in this release is exemplary as layers upon layers of distortion and crafted to create very thick and demoralizing walls of sound, like on “Combustion” and “Let the Earth Be Silent”.

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    The Odious Construct - Shrine of the Obscene (2018)

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    With big name bands like Obscura and Beyond Creation unleashing Progressive/Technical Death Metal masterpieces this year, it is quite refreshing to hear more underground bands like The Odious Construct take inspiration from them and release a killer EP of their own. With “Shrine of the Obscene” this band from Sacramento, California delivers five expertly crafted tracks that are quite atmospheric and technically proficient. For a band formed in 2015, they are certainly firing on all cylinders in this brilliant release.

    Opening with a dreamy passage on “Vortex of Self”, the band quickly sets up a hectic mood filled with subtle technical details and trippy atmospheric keyboards. As the album’s introduction to the band, this song could not be more awesome and expertly crafted. Going into “Descension”, the keyboards nicely frame the massive drumming and the cool tempo changes in this track. Keeping the intensity going thanks to crushing vocals and very well crafted guitar passages, this track certainly shows that the opener was no fluke.

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    Behemoth - I Loved You at Your Darkest (2018)

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    The most recognized Metal band in Poland makes their unholy return with one of the most devastating releases of 2018. With “I Loved You at Your Darkest”, Behemoth takes all the elements they have been refining over the years and unleashes 46 minutes of truly masterful music that blows away all the high expectations riding on this release. With a ravaging attitude and tons of technical grace, the 12 tracks presented in this album are brilliantly engineered to deliver a crushing blow to Christianity and its acolytes.

    Opening with the ominous “Solve”, the band sets a sinister and very dark atmosphere that is further elevated by creepy choir arrangements and brutal riffs as it transitions into “Wolves ov Siberia”. With a firm grasp on relentless brutality, this track inflicts major pain thanks to the intense drumming and violent guitar work. Not letting go, “God = Dog” delivers a consecutive blow of massive drums and hellish vocals from Nergal. The contrast between the choir arrangements and the sickening melodic passages make for one hell of a song that is far from average.

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    Revocation - The Outer Ones (2018)

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    Perfectly blending style and brutality, today we have Revocation and their most refined opus to date: “The Outer Ones”. Featuring a sound that is reminiscent of bands like Death, Exmortus and Sylosis, this outfit delivers over 48 minutes of superbly crafted music that will keep you at the edge of your seat. While many bands focus on technicality just for the sake of it, Revocation actually crafts catchy and engaging songs that are highly technically proficient and headbangable from start to end.

    Opening with the ravaging “Of Unworldly Origin”, we get crunchy Death Metal riffs paired with intense drumming and hellish vocals. With some killer guitar leads thrown into the mix, this track sets a very lively and engaging mood that feels old-school, but will all the advantages of a modern production. The band continues to show their melodic elements in well paced songs like “That Which Consumes All Things” and the brilliant “Blood Atonement”. This last track delivers intense twin guitars and crafty tempo changes alongside some funky trippy bass guitar elements.

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    Abhorrence - Megalohydrothalassophobic (2018)

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    Delivering over 23 minutes of classical Scandinavian Death Metal, today we have Finland’s Abhorrence and their latest EP “Megalohydrothalassophobic”. All the fans of old-school Death Metal will be salivating for this release and with good reason as it is a force to be reckoned with. Showcasing a timeless musical style with modern production values makes this EP be one hell of a headbanging item to add to your collection.

    Opening with the traditional intro, “Anthem for the Anthropocene” delivers a superbly catchy wave of riffs that bring back memories of the early days of Death Metal. The band’s nostalgic sound is nicely enhanced by a crystal clear recording which allows every detail to be fully appreciated, as we can hear from the punishing “The Four Billion Year Dream”. With all musicians being experts at their craft, the songs are nicely structured to inflict the maximum amount of damage.

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    Burial in the Sky - Creatio Et Hominus (2018)

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    Unleashing one of the most inventive and catchy Progressive/Technical Death Metal releases of 2018, today we have Burial in the Sky and their sophomore release “Creatio Et Hominus”. Filled with lush instrumental passages and highly crafty pummeling sections, this release perfectly balances the best of two worlds to deliver seven expertly crafted tracks that will keep you entertained for hours at a time.

    Opening with the dreamy jazzy sax of “Nexus”, the band sets a mysterious tone while intoxicating the listener with their atmospheric intro. This peaceful mood quickly changes into growls and crushing drumming with “Tesla”. This track reminds us of a mixture of Cynic and Fallujah, as the moody bass guitar line perfectly contrasts the aggressive guitar riffs and blistering solos. Perfectly dancing between lush atmospheric passages into more technical brutality, the band tiptoes through tracks like “Nautilus’ Cage” and the playful “The Pivotal Flame”.

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    Behemoth – Messe Noire: Live Satanist (2018)

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    Unleashing one of the most brutal live releases of 2018, today we have Poland’s Behemoth and the “Live Satanist” audio CD part from their massive “Messe Noire” live release. Delivering the nine songs from their crushing 2014 release “Satanist”, the band showcases their tight live set and raw power they deliver to crowds. If you haven’t been able to see the band live, this release certainly brings that experience to your ears from the comfort of your own home (or car).

    The mood is brilliantly set by the mysterious opening of “Blow Your Trumpets Gabriel”, as the band levels the audience with incisive riffs and sheer heaviness. The album perfectly captures the band’s top-notch live production, allowing every single instrument to shine, with the layering just right. Showcasing their extremely tight live sound, the band pummels through the albums majestic tracks while leaving the crowd clamoring for more.

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    Blood Chalice – Sepulchral Chants of Self-Destruction (2018)

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    Unleashing one of the rawest and most pummeling releases of this young 2018, today we have Finland’s Blood Chalice and their debut full-length “Sepulchral Chants of Self-Destruction”. As a joint release from Regain Records and Helter Skelter, we get 27 minutes of lo-fi bestial devastation in the shape of ten tracks. For the fans of intense Death/Black Metal, this release will keep head banging from start to finish.

    Opening with the violent “The Unholy Angel of All”, the band sets a very intense pace and a ravaging sound that is quite effective for the genre. The punishing vocals deliver an unholy experience as they resonate on killer tracks like “The Passage” and the moody “Coven”. We particularly enjoy the crunchy riffing on “The Four”, a song that expertly changes tempos and pummels the listener when they least expect it.

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